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This paper explores the concept of sustainability in design education through the lens of Jean-Paul Sartre's existentialist philosophy. The author argues that sustainability should not be viewed as a mere add-on to design projects, but rather as a fundamental aspect of the designer's "existential project," their self-definition through actions and choices. He proposes that a designer's fundamental project, their core values and motivations, shapes their approach to design, influencing whether they prioritize sustainability. The design studio is presented as a key environment for fostering this self-reflection and potentially leading to a "radical conversion"where students adopt sustainability as a freely chosen value. Ultimately, the paper suggests that by integrating existentialist thought, design education can cultivate a more ethical and sustainable design practice.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
D’Anjou, P. (2007). The Existential Self as Locus of Sustainability in Design. Design Philosophy Papers, 5(3), 119–128. https://doi.org/10.2752/144871307X13966292017559
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This paper challenges the traditional hylomorphic model of making, which views creation as the imposition of form onto passive matter. Instead, the author argues that making is a process of weaving, where practitioners actively engage with material flows and forces, following the "grain" of the world's becoming. This approach emphasizes itineration and improvisation, contrasting with the architectonic model's focus on pre-conceived designs. Examples like carpentry, drawing, and kite-making illustrate how skilled practice involves a continuous, responsive interaction with materials, generating form through movement and transformation, rather than imposing it. The paper ultimately advocates for a re-evaluation of creativity, moving away from a backward-looking, causal explanation to embrace a forward-looking, generative perspective.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Ingold, T. (2010). The textility of making. Cambridge Journal of Economics, 34(1), 91–102. https://doi.org/10.1093/cje/bep042
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This text explores Heidegger's phenomenology of space, arguing that his concept of intentionality, the relation between humans and their environment, rejects a subject-object dualism. The author contends that Heidegger's views on space and relationality are relevant to urbanism, particularly considering the co-constitution of human experience and the built environment. The text examines debates surrounding the interplay of "subjective" and "public" space within Heidegger's framework, emphasizing the role of technology and everyday practices in shaping urban experience. Finally, the text connects Heidegger's ideas to Arendt's work on the public realm, highlighting the significance of shared spaces and the politics of appearance.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Keane, J., & Selinger, E. (Eds.). (2014). Footprint: Architecture and Phenomenology. 3. https://doi.org/10.7480/FOOTPRINT.2.2.
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This text explores Heidegger's interpretation of Aristotle's philosophy, focusing on the concept of "seeing" (eidenai) as the origin of knowledge. Heidegger analyzes Aristotle's hierarchy of knowledge—aisthesis, empeiria, techne, episteme, and sophia—arguing that Aristotle privileges theoretical contemplation (theoria) over practical wisdom (phronesis). The text examines Heidegger's critique of this prioritization, contrasting the "restricted orientation" of cognitive knowledge with a more existential understanding of Dasein's engagement with the world. Ultimately, the analysis investigates the relationship between theoretical knowledge and practical action, highlighting the complexities of human experience and the role of "practical vision" (aisthesis) in shaping our understanding of being.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
McNeill, W. (1999). The glance of the eye: Heidegger, Aristotle, and the ends of theory. State University of New York Press.
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The provided texts explore the intersection of Aristotle's Nicomachean Ethics, Book VI, and the field of design. They analyze how Aristotelian concepts like techne (craft/skill), phronesis (practical wisdom), the "golden mean," deliberation, episteme (scientific knowledge), and telos (purpose) inform ethical and responsible design practices. The authors examine how these principles guide designers in finding balance in their work, making ethical choices, and creating meaningful products and systems that serve human needs and the common good. Specific examples are given to illustrate the application of these philosophical concepts to various aspects of design, from the creation of user interfaces to the development of sustainable technologies.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Aristote, Ross, W. D., & Brown, L. (2009). The Nicomachean ethics (ed. rev). Oxford university press.
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Albert Borgmann's essay "The Depth of Design" argues that modern design prioritizes engineering and efficiency over aesthetic and user engagement. He contends that this shift has led to a decline in the "depth of design," resulting in superficial and unfulfilling interactions with our material world. Borgmann calls for a revival of design that integrates engineering and aesthetics to foster deeper human engagement with objects and the environment, citing examples like urban planning and kitchenware. He emphasizes the designer's role as both trustee and artisan, responsible for creating environments that promote meaningful experiences.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Buchanan, R., & Margolin, V. (Eds.). (2007). Discovering design: explorations in design studies (7. Aufl). University of Chicago Press. (pp.13-22)
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This text explores Heidegger's philosophy of time and technology, particularly his concepts of Dasein (being-in-the-world), temporality, and the "already-there." It analyzes Heidegger's use of the myths of Prometheus and Epimetheus to illustrate the interplay between technological advancement and the inherent limitations of human understanding. The author critiques Heidegger's ambiguous stance on technology, arguing that his understanding of the "instrumental condition" and "epimêtheia" (heritage) is insufficient. The text further examines the role of clocks and writing as technological instruments shaping our experience of time and knowledge, ultimately questioning the nature of knowledge and the implications of "real time" in contemporary technological society. The author aims to re-examine Heidegger's work through a contemporary lens, focusing on the constitutive role of technology in shaping human experience.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Stiegler, B., & Stiegler, B. (1998). The Fault of Epimetheus. Stanford Univ. Pr. (pp.185-203)
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Tony Fry's Defuturing: A New Design Philosophy introduces a critical examination of design's role in creating unsustainability. The text argues that design history reveals a pattern of neglecting long-term consequences, leading to a "defutured" world. Fry proposes "defuturing" as a method to analyze and expose this pattern, advocating for a new design philosophy focused on sustainability. This involves rethinking design's relationship to time, power, and relationality, moving beyond linear thinking to embrace complexity and ethical responsibility. The work ultimately aims to transform design practice by fostering a deeper understanding of its impact and promoting sustainable alternatives.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Fry, T. (2020). Defuturing: a new design philosophy. Bloomsbury Visual Arts. (pp.1-15)
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Tony Fry's Becoming Human by Design examines the complex interplay between humanity and animality, arguing that humans are not separate from the animal kingdom but rather exist on a biocultural continuum. The text critiques the anthropocentric view, which prioritizes human interests over others, and explores how technology and cultural practices shape human identity and our relationship with the natural world. Fry analyzes the role of ontological design, particularly the impact of technology, in shaping human evolution and existence. He challenges traditional evolutionary theories, suggesting that human development is not solely a product of biological processes but also cultural forces and the creation of artificial technologies. Ultimately, Fry calls for a deeper understanding of our animality and a more responsible approach to technological advancement.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Buchanan, R., & Margolin, V. (Eds.). (2007). Discovering design: explorations in design studies (7. Aufl). University of Chicago Press. (pp.75-90)
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This article analyzes two prominent postwar German aesthetics publications: Nicolai Hartmann's Ästhetik and Max Bense's Aesthetica. The author, Eva Schaper, critiques both works for their reliance on Hegelian frameworks, arguing that they neglect contemporary aesthetic discourse and practical concerns. Schaper contrasts Hartmann's rigorous but detached approach with Bense's stimulating but often inconsistent style. Finally, she briefly examines Herman Nohl's Die Ästhetische Wirklichkeit, highlighting its historical focus as a contrasting perspective.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Schaper, E. (1956). The Aesthetics of Hartmann and Bense. The Review of Metaphysics, 10(2), 289–307. http://www.jstor.org/stable/20123573
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Bruno Latour's 2008 lecture, "A Cautious Prometheus," argues that the expanding usage of the word "design" reflects a shift away from modernist ideals of progress and control. He proposes five key connotations of "design" – humility, attention to detail, semiotic interpretation, remediation, and an inherent ethical dimension – contrasting it with the hubris of "construction." Latour connects this shift to Peter Sloterdijk's philosophy, which emphasizes the artificiality of human environments ("spheres") and the need for "explicitation" to reconcile emancipation and attachment. Latour concludes by challenging designers to develop new visualization tools capable of representing the complex, contested nature of "matters of concern" in a post-modern world, moving beyond the limitations of modernist representations of "matters of fact."
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Latour, B. (2008). A cautious prometheus? A few steps toward a philosophy of design (with special attention to Peter Sloterdijk).
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This excerpt from Viktor Shklovsky's Art as Device critiques existing literary theories, particularly Potebnja's view of art as imaginative thought expressed through images. Shklovsky argues that this definition is too broad, failing to distinguish between prosaic and poetic imagery and neglecting the crucial role of "defamiliarization" in art. He posits that art's purpose is not to simplify understanding but to disrupt the automatic perception of objects, making them new and strange. Shklovsky uses examples from Tolstoy and other authors to illustrate his concept of defamiliarization as a primary artistic technique, contrasting it with the automatization of everyday experience. Ultimately, he proposes that poetic language is "impedited" or difficult, defying the principles of efficiency found in practical language.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Shklovskiĭ, V. (1990). Capitolo I : L’arte come procedimento. In Theory of prose. https://doi.org/10.1400/86251
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This academic paper argues for a broad view of aesthetic experience, contrasting it with the narrow view advocated by philosophers Peter Kivy and Noël Carroll. The narrow view emphasizes attention to formal properties, excluding cognitive and moral aspects. Goldman contends that cognition and moral assessment are inseparable from the experience of form and expressiveness in art. He supports his broad view with historical analysis, arguing that it has a stronger philosophical lineage and provides a more plausible account of aesthetic value. Finally, Goldman addresses objections to his position, clarifying the scope and nature of aesthetic experience.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Goldman, A. (2013). The Broad View of Aesthetic Experience. The Journal of Aesthetics and Art Criticism, 71(4), 323–333. http://www.jstor.org/stable/42635869
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Grudin's "From Tool to Partner" traces the evolution of human-computer interaction (HCI) across several decades, examining the interplay between technological advancements and human behavior. The book explores the contributions of various disciplines, including human factors, information systems, and computer science, to HCI's development. It analyzes how the shift from expensive, specialized computer use to widespread, discretionary use profoundly altered HCI's focus and methodologies. The text also addresses the fluctuating influence of artificial intelligence on HCI research and funding priorities. Finally, the author reflects on the future of HCI in a world of ubiquitous computing and increasingly autonomous systems.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Grudin, J. (2017). From tool to partner: the evolution of human-computer interaction. Morgan & Claypool Publishers.
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The text analyzes the compositional structures of various artworks, focusing on how artists utilize central and eccentric vectors to organize elements within a picture plane. It explores how these vectors, whether vertical, horizontal, or diagonal, create visual connections between figures and objects, influencing the viewer's perception of depth, balance, and narrative. The analysis extends to architectural design, examining how similar principles govern the arrangement of spaces and the experience of movement through a building. Ultimately, the text argues for a unified approach to understanding compositional principles across visual art forms.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.
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The text explores the artistic principle of visual equilibrium in painting and sculpture, focusing on how artists utilize central and eccentric compositional elements to create stability and dynamism. It examines how the placement of figures and objects, particularly around a central axis, influences the overall visual impact and meaning. Specific examples from various artists and periods are analyzed to illustrate the concept of a visual center of gravity and its role in conveying emotion and narrative. The author identifies different types of compositional structures, including bipolar compositions and those based on intersecting vectors or nodes, to highlight the diverse ways in which artists achieve visual harmony and tension. The analysis reveals how the interplay of weight, directionality, and spatial relationships contributes to the overall effectiveness of a work of art.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.
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The text excerpts explore the compositional principles of visual art, specifically focusing on the role of centers and peripheries in creating dynamic and meaningful arrangements. It examines how artists use boundaries, such as picture frames or architectural spaces, to structure visual energy and guide the viewer's perception. The analysis considers the interplay between central and eccentric forces in various artistic forms, including painting and sculpture, highlighting how these elements interact to create a cohesive and impactful whole. Different shapes, like circles and squares, and their inherent properties are discussed as they relate to overall composition.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.
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The text explores the interplay between dynamic visual forces and compositional structure in art and architecture. It emphasizes the viewer's perspective as a crucial element, arguing that the artist's composition should account for the viewer's active role in creating meaning. The author uses diagrams and examples from various art forms to illustrate how centripetal and centrifugal forces influence visual perception and organization. Central to the analysis is the concept of a dynamic center, impacting how viewers experience an artwork's depth and spatial relationships. Finally, the text differentiates between geometric and dynamic centers within a composition.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.
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This episode is based on "Epistemology and Ecology", the fifth part of Bateson's book Steps to an Ecology of Mind (2000). In particular, the text explores Gregory Bateson's cybernetic approach to understanding mind and communication. Cybernetic explanation, he argues, is fundamentally negative, focusing on constraints that limit possibilities rather than positive causes. This approach parallels mathematical methods of proof such as reductio ad absurdum and mapping, and emphasises the importance of information and redundancy. Bateson contrasts human verbal communication with other iconic forms such as kinesics and paralanguage, suggesting that they serve different functions, particularly in expressing relationships. Finally, he proposes a systems view of mind and evolution, arguing that the unit of survival is not the individual organism but the organism within its environment, a concept with significant implications for ecology and our understanding of the self.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Bateson, G. (2000). Steps to an ecology of mind. University of Chicago Press.
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This excerpt from Felix Thùrlemann's 1991 semiotic analysis of Paul Klee's 1918 watercolor, Blumen-Mythos, examines the painting's interplay between figurative and plastic levels of meaning. Thùrlemann meticulously details a methodology for separating and analyzing these levels, identifying elements (plastic units) and objects (figurative units). He then explores how these levels connect through code-connectors, revealing a complex system of relationships between visual elements and semantic interpretations. Finally, he interprets the painting's symbolic representation, suggesting a narrative about the union of masculine and feminine principles within a cosmic context. The analysis emphasizes the formal structures of the painting, ultimately arguing for its poetic nature.
Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.
Thürlemann, F. (1991). Paul Klee: analisi semiotica di «Blumen-Mythos», 1918. Leggere l’opera d’arte.
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